The Subaru Impreza is a compact car, manufactured since 1992 by Subaru, introduced as a replacement for the Leone, with the predecessor's EA series engines replaced by the new EJ series. Now in its fifth generation, Subaru has offered four-door sedan and five-door body variants since 1992. Mainstream versions have received "boxer" flat-four engines ranging from 1.5- to 2.5-liters, with the performance-oriented Impreza WRX and WRX STI models uprated with the addition of turbochargers. Since the third generation series, some markets have adopted the abbreviated Subaru WRX name for these high-performance variants; the first three generations of Impreza in North America were available with an off-road appearance package called the Outback Sport. For the fourth generation, this appearance package was renamed the XV, unlike the Outback Sport, is sold internationally. Colloquially, the car is sometimes referred to as Scooby; the Impreza was a major rival to the Mitsubishi Lancer. Subaru has offered both front- and all-wheel drive layouts for the Impreza.

Since the late-1990s, some markets have restricted sales to the all-wheel drive model—therefore granting the Impreza a unique selling proposition in the global compact class characterized by front-wheel drive. However, Japanese models remain available in either configuration. A 2019 iSeeCars study named the Impreza as the lowest-depreciating sedan after five years. Announced on 22 October 1992, the Impreza was released in Japan in November and offered in either front-wheel drive or all-wheel drive versions and as a four-door sedan or five-door hatchback/wagon; the car used a shortened version of the Legacy's floor pan. According to a Motor Trend article written March 1992 on page 26, the name of Subaru's new compact was to be called the Loyale, displaying an official photograph of the four-door sedan. In late 1995, a two-door coupe was introduced. Initial engine choices included 1.5, 1.6, 1.8, 2.0 liter aspirated engines. Subaru chose to continue their longstanding use of the boxer engine in the Impreza.

According to Subaru, their configuration of the engine inline with the transmission minimizes body roll due to the lower center of gravity compared with offset engines in most other vehicles. The boxer design provides good vibration mitigation due to the principles of a balanced engine because the movement of each piston is countered by a piston in the opposing cylinder bank, eliminating the need for a counter-weighted rotating crankshaft, but with some vibration from offsets. Torque steer is reduced with this type of powertrain layout since the front drive shafts are of equal length and weight. At the time of introduction, the Japanese and European market aspirated models received an unusual grille with a small central opening. Only the WRX and regular North American models received a conventional "full" grille until the 1994 facelift, when the regular models' appearance was brought in line with that of the sporting models; the Outback Sport was introduced to North America in 1994 for the 1995 model year as an updated Impreza "L" Sports Wagon.

It was the top trim level of the Impreza wagon model with no significant mechanical or performance changes from the lower trim levels aside from a lifted suspension. Subaru found some sales success with the Outback Sport as a smaller companion with similar ride height changes, body colors and trim levels to the larger, more successful selling Legacy-based Outback. For the first time, the 2.2-liter engine was used in the American Impreza. The 2.5-liter engine was introduced. In Japan, the Impreza WRX Sports Wagon was offered with a similar approach to the Outback Sport, calling it the "Impreza Gravel Express". Subaru discontinued the Gravel Express when the second generation Impreza was introduced due to limited sales; the hood-scoop found on the American Outback Sport was non-functional but was included because the American and Japanese versions were built at the same factory in Japan. The Outback Sport was offered with optional equipment, such as a gauge pack installed on top of the dashboard, that included a digital compass, outside temperature and barometer or altimeter readings.

Trim levels were GL and Sport generation. LX models were front-wheel drive, powered by a 1.6-liter engine. GL trim levels were either front-wheel all-wheel-drive. From 1996, the 1.8-liter versions were dropped, replaced by a 2.0-liter engine. Sport versions had alloy wheels, a 2.0-liter engine only. During this generation, Subaru offered a limited edition Impreza Sports Wagon called the Casa Blanca, which had a retro-inspired front and rear end treatment, inspired by the popular kei car Subaru Vivio Bistro styling package and Subaru Sambar Dias Classic; the Impreza received an external facelift for the 1997 model year, followed by an interior redesign in 1998, using the new redesigned dashboard from the Forester. Subaru of North America offered the Impreza with the 1.8-liter engine only, with either front- or all-wheel drive. For the 1995 model year, the 1.8/EJ18 was available with a 5-speed manual or a 4-speed automatic transmission on the'base' model only. The 2.2/

Dildaar is a 1977 Bollywood Action film, produced by D. Rama Naidu under Suresh Productions and directed by K. Bapaiah, it stars Jeetendra, Nazneen in the lead roles and music composed by Laxmikant Pyarelal. The film is a remake of the Telugu movie Soggadu, starring Shobhan Babu, Jayasudha in the pivotal roles, both the movies are made by the same banner and director; the film is recorded as Above Average at the box office. Nazneen received the film's only Filmfare nomination as Best Supporting Actress. Banke Lal lives a wealthy lifestyle in a village along with his widowed mom, Laxmi, he has earned an award from the Government as well as having been interviewed on All India Radio as he had excelled in farming. He is in love with Parvati, the daughter of the village Sarpanch, Charandas; when Charandas refuses to permit him to wed Parvati as she is more educated, Banke vows to wed a city-bred woman, more, qualified than Parvati. He re-locates to Bombay, after a few weeks return home with his new bride, Lata.

Shortly thereafter, chaos reigns in his life when he finds out that Lata is a mentally unstable runaway bride, her to-be spouse is wealthy Advocate Shamsher Singh and the entry of Savitri - who claims that Banke married her and that she is pregnant with his child. Jeetendra as Banke C. Lal Rekha as Lata Nazneen as Parvati / Paro Prem Chopra as Shamsher Singh Sujit Kumar as Choke Lal Deven Verma as Salim Jagdeep as Saudagarmal Jeevan as Sarpanch Charandas "Mukhiya" Roopesh Kumar as Prasad Birbal as Postman Keshto Mukherjee as Raju Swaraj Kumar Gupta Urmila Bhatt as Laxmi Shashikala Sheetal as Savitri Meena T. as Phoolrani Jamila Vijay Laxmi Dildaar on IMDb

Horror Vacui is the sixth studio album from the Italian nu metal band, Linea 77. It was released on February 8, 2008, it is the first work produced by Universal Music Italia Srl and in which Linea 77 collaborated with the globally famous producer Toby Wright. The title of the album is linked to the theme of the emptiness of life. "The Sharp Sound of Blades" - 3:48 "Sempre Meglio" - 3:16 "Grotesque" - 3:03 "Il Mostro" - 4:24 "Sogni Risplendono" - 3:38 "My Magic Skeleton" - 3:43 "Penelope" - 3:57 "Mi Vida" - 3:49 "Overload" - 4:10 "La Nuova Musica Italiana" - 4:54 "Touch 2.0" - 2:48 "Kings" - 3:54 "Pete" - 3:46

Wolfgang Marguerre is a German billionaire businessman, the chairman and owner of the Octapharma Group. The pharmaceutical company produces medicine derived from human proteins to treat haematology, intensive care, emergency medicine, he founded Octapharma in 1983 with Robert Taub. Octapharma is owned by Marguerre and his three children, two of whom, Frederic Marguerre and Tobias Marguerre, sit on the management board; as of November 2016, Forbes estimated his net worth at US$5.8 billion. Born in Germany in 1941, Marguerre was raised and educated in Heidelberg, where he read Political and Economic Science at Heidelberg University, he obtained his MBA at INSEAD in 1972. After which, he was managing director at Pharmaplast for three years in Copenhagen, before moving to Baxter-Travenol Europe in Brussels as their director and business manager of Hyland-Division. In 1979, he became senior executive vice-president of the Revlon Healthcare Group in Paris, a role which he continued until 1983, when he founded Octapharma.

In April 2009, Marguerre was awarded the Légion d’honneur, the highest decoration bestowed by France. In November 2011, he was awarded the Gold Decoration of Honour for Services to the Republic of Austria. Marguerre sponsors 70 children with bleeding disorders in India, Nepal and the Philippines through Octapharma's corporate sponsorship of Save One Life, an international non-profit organization that supports children and adults with blood disorders. Marguerre has played the violin since the age of six. A supporter of the arts, he helped to save the Heidelberg Theatre, threatened with closure; when the theatre was reopened in 2012, the newly built state-of-the-art stage was named the “Marguerre-Saal” in his honour. He donated a significant sum to accept and integrate refugees in Heidelberg. Marguerre speaks five languages

The Gorilla Hunters: A Tale of the Wilds of Africa is a boys' adventure novel by Scottish author R. M. Ballantyne. A sequel to his hugely successful 1858 novel The Coral Island and set in "darkest Africa", its main characters are the earlier novel's three boys: Ralph and Jack; the book's themes are similar to those of The Coral Island, in which the boys testify to the positive influence of missionary work among the natives. Central in the novel is the hunt for gorillas, an animal until unknown to the Western world, which came to play an important role in contemporary debates on evolution and the relation between white Westerners and Africans. After their adventures in the South Sea Islands, Jack Martin, Ralph Rover, Peterkin Gay go their separate ways. Six years Ralph, living on his father's inheritance on England's west coast and occupying himself as a naturalist, is visited by Peterkin, whose "weather-beaten though ruddy countenance" he does not recognise. Peterkin, who has stayed in touch with Jack, has hunted and killed every animal on Earth except for the gorilla and now comes to Ralph to entice him on a new adventure.

After Peterkin writes him a letter, Jack joins the two, they leave for Africa. The three attend an elephant hunt. All kinds of animals are shot, killed and stuffed, the action is interspersed with sometimes serious, sometimes jocular conversation. Ralph theorises at length on "muffs", which he defines as boys who are too gentle and mild and should be made to undergo physically challenging training. Trading habits in this part of Africa are discussed: trade between the jungle and the coast is done via all the intermediary tribes, a cumbersome and expensive way of doing business; the trader who explains this to Ralph is a friend of missionary efforts: when the natives are ruled by their "abominable superstitions", they become "incarnate fiends, commit deeds of cruelty that make one's blood run cold to think of". In addition, the trader argues that missionary work and trade should join to improve the fate of Africa: "No good will be done in this land, to any great extent, until traders and missionaries go hand in hand into the interior, the system of trade is remodelled".

In the village of King Jambai, the hunters are well received, but problems arise when a young woman, betrothed to Makarooroo, their English-speaking guide, is judged by the village's "fetishman" to be responsible for an illness of the king's, she is to die. The hunters help spring her from her jail, in the melee that accompanies their escape two natives are killed: Jack trips one who falls to an accidental death in a pit, Makarooroo kills another, they hide the woman a few days with Mbango, the king of another tribe. Peterkin shoots an elephant, but a further hunting adventure goes badly for Jack, who went giraffe hunting by himself but is injured by a rhinoceros. To recuperate the hunters spend a few weeks in the village of another tribe, ruled by a relative of King Jambai; the plot for the second half of the book involves a slave trader, whom the three hunters and their guide pursue for weeks to prevent the trader and his gang from taking over and enslaving Mbango's people. They are too late, Makarooroo's fiance is among the captured.

When the trader attacks Jambai's village the three organise the defences and defeat the attackers. It is a bloodless affair since Jack has ensured that the first volley from Jambai's riflemen consists of wadded paper, intended to scare off the attackers without killing them. In addition, Peterkin dresses up in a colourful outfit and stands on top of a hill and setting off fireworks. However, when Ralph attacks the trader's camp, he manages to scare off the now-liberated slaves, another weeks-long pursuit ends with the happy reunion of Makarooroo and his fiance, who head down to the coast to get married. After the three take receipt of their stuffed trophies, intended for British museums and schools, they head home, with Ralph and Peterkin saying farewell: "Farewell," said I, as we leaned over the vessel's side and gazed sadly at the receding shore --- "farewell to you, kind missionaries and faithful negro friends." "Ay," added Peterkin, with a deep sigh, "and ye monstrous apes. The interest in gorillas among Ballantyne's contemporaries is explained by what the resemblance between the great apes and men had to say about evolution.

Ballantyne had long been interested in various theories of evolution, an interest evident in The Coral Island and other books: natural and Social Darwinism form a scientific and social background for that novel. Ideas published in Darwin's Origin of Species were in broad circulation before the book's 1859 publication, The Coral Island reflects the prevalent view of evolutionary theory. Besides Darwin himself, Ballantyne had been reading books by Darwin's rival Alfred Russel Wallace, in publications acknowledged the naturalist Henry Ogg Forbes; the gorilla, knowledge of, first spread in Europe in 1847, was responsible for further speculation in England about the evolutionary status of humans. In fact, many exploratory accounts by Westerners, as was argued by Jennifer Dickenson, "are permeated with'gothic tropes—boundary transgressions, dark doubles, haunting pasts, threats of regression—in order to play upon Victorian anxieties about the origins of man' in the aftermath of the public

Elizabeth Liddell was an amateur British artist specialising in pastel portraits. She was wife of Robert Hodshon Cay, mother of John Cay, mother-in-law of John Clerk-Maxwell of Middlebie and grandmother of James Clerk Maxwell, she was born on 22 February 1770. She was the daughter of John Liddell of Dockwray Square in Jane Hubback, her father is thought to have been a ship-owner establishing the naval link to her future husband. She married Robert Hodshon Cay, a noted Scottish judge, in 1789, she studied under a fellow British artist. From him, she learned to paint portraits, she had contact with Sir Henry Raeburn, known to have painted both her husband Robert and her mother. William Bewick is known to have painted her sister, Barbara. In 1797 she is recorded as having an adult baptism at the Charlotte Chapel in Rose Street, Edinburgh indicating conversion to the Baptist Church. Following the death of her husband Robert in 1810, she continued to live in the family home until death, her son John Cay shared the house until around 1825, before moving to 5 South East Circus Place to the north.

She died in Edinburgh on 27 October 1831. She is buried in Restalrig Churchyard, just north of the church. While other works undoubtedly exist the only portraits of known named persons exist as a group at the James Clerk Maxwell Museum at 14 India Street in Edinburgh. Self-portrait John Cay Jane Cay Frances Cay Robert Dundas Cay Other more vague works include: Portrait of the blacksmith Her box of art materials is held by the Victoria and Albert Museum in London; the box proves her pastel work was applied by brush rather than in stick form. She married Robert Hodshon Cay of North Charlton in Edinburgh in 1789, they had nine children, including: John Cay Frances Hodshon Cay Robert Dundas Cay